I studied with him and I confess: his teaching is GENIUS. Extremely humble man, treated me as if I was his son. Helped me not just in music but in life as I was struggling with so many things at the same time. Never stopped pushing me. Amazing man, amazing person, may God give him a very long life ❤️❤️
*MVT I* EXPOSITION 0:01 Theme 1a, rising sequential thirds quickly joined by a second voice. Stepwise motion abruptly leads into... 0:07 Theme 1b, consisting of two main motifs: the insistent, dissonant repeated notes and the strangely _Dies irae_-esque theme in the middle voice. 0:20 t1a again, though the falling chromatic line appears _above_ the rising thirds, an example of invertible counterpoint. This time, it's capped off by a more decisive half-cadence, followed by a sudden _lunga_ G minor triad. 0:33 Transition. The most important aspect of this theme is the RH figure you hear at the beginning of this section. Descends sequentially, briefly touching on the tonalities of G minor, F minor, E-flat minor, and D-flat minor. A repeated falling half-step starting at 0:44 contributes further to the chromaticism; eventually, the music settles onto the common tone E (and the repeated E-D# actually anticipates T2!) as the inner voices continue to move chromatically, bringing us to... 0:56 Theme 2. It's in E minor... I think? A "sickly sweet", ethereal theme marked by dissonant harmonies. 1:34 Codetta. Falling chromatic notes in the LH reminiscent of t1a, followed by tr in diminution. This is repeated once, then tr is played in parallel 11ths twice, bringing the exposition to a close in E minor. DEVELOPMENT 1:59 A reharmonized version of t2. 2:17 tr alternates with the end of t1a. 2:33 The beginning of a long crescendo that takes up most of the development. First, invertible counterpoint on tr. 2:47 t1b and t2(!!!) enter simultaneously on top of tr. Repeated notes from t1 introduced at 3:01. 3:27 Climax in C-sharp minor, calling back to the end of the second statement of t1a. 3:37 tr in augmentation, superimposed on a chromatically rising version of itself. RECAPITULATION 3:47 t1a in LH (t1b entirely omitted) - this is gonna end with that G minor triad, right...? Nope; C minor is briefly tonicized, preceding another abrupt shift in tonality. 4:05 tr beginning in A minor, and ending with what appears to be some arpeggios implying the D Phrygian mode... 4:27 t2. The melody says D minor, but the first measure in the bass is a C major triad... D minor tonality becomes more obvious towards the end of the theme. 5:04 Codetta again. CODA 5:30 Two more statements of t1a, introducing diminished 7ths into the mix. We _finally_ get to hear this theme end on a perfect cadence! *MVT II* 5:54 A section. Emphasis on upbeats and the downbeats immediately following, with chromatic accompaniment. 6:27 B section. Built entirely on that insistent rhythmic figure of two eighth notes and a quarter note (often across barlines). Moves through D major, D-flat major, A major, then starts back towards A minor. 7:12 A section. Begins in a lower register than before, but is more or less the same as before besides that. *MVT III* 7:52 Introduction. Immediately sets the mood for this dark, bleak movement. 8:02 A section. A second accompanying voice enters, and the theme enters on top of them about two measures later. As is usual in this sonata, the G-sharp minor tonality is rather unstable and quickly changes. Second statement of the theme is significantly more dissonant, ending with parallel tritones in the bass. 10:05 B section. More active, dense, chromatic counterpoint in 7/8 time. 10:49 A' section. The tenor voice has completely dropped out; now, we hear bass octaves and the same alto accompaniment as before, but rewritten as repeated sixteenth-notes. Once the theme reenters, however, a much more chromatic tenor reappears, even featuring 2-against-3 polyrhythms towards the end. 12:57 B section again, drawing the movement to a close. *MVT IV* INTRODUCTION 14:00 Those rising fourths and fifths become an essential part of this movement's t1 (and could be a reference to the A section of the second movement). An arpeggio comes all the way down the keyboard at 14:05, followed by a dominant trill in the lower register. EXPOSITION 14:08 Four measures of the same vamp from the introduction herald the entrance of IV.t1, contrasting open fourths with stepwise motion. 14:31 IV.tr. A toccata-like texture is established by the abundance of rapid chords. Sudden shift to 2/4 time and an implied C-major tonality at 14:42. 14:47 IV.t2. A light, humorous theme that is then repeated at 15:03. 15:14 Codetta. IV.tr on top of the bass line introduced at the end of IV.tr; the RH eventually takes up lots of jumping chords (with a 2-against-3 polyrhythm) before a homogeneous rhythm is reestablished at 15:24. DEVELOPMENT 15:38 t2 from the first movement - what's _that_ doing here? Note that it's presented in the form that it appeared when it began the first movement's development. 16:02 This theme is suddenly presented in a much more humorous light (shifting to 2/4 time as well). 16:16 IV.t1 is now presented in 2/4, alternating with a fragment of IV.t2 16:37 IV.t2, with the sixteenth-note gesture from IV.t1 in the background. 16:44 The two rhythmic figures from IV.tr superimposed. 16:48 Further development of the introductory theme, which eventually does lead us right back to the introduction. RECAPITULATION 17:07 Same texture as at the beginning of the exposition, as expected. 17:08 IV.t1 17:19 IV.tr 17:35 IV.t2; the second time around, IV.t1 is layered on top of it all CODA 18:02 A drastically altered codetta, quickly overtaken by IV.int and IV.t1. 18:18 Opening arpeggio referenced again, followed by a series of chords that slam the sonata shut.
I'm sorry, having heard the whole recording, I must make an amendment. Not voicing, no. I have never heard such beautiful... everything O_O I mean he plays so well in tempo even in the most difficult moments, the dynamics is just stunningly precise, the sound is never harsh, even in fortissimo, … uh, I guess I'm gonna go dig the garden or something, there's no point in practicing anymore, because I shouldn't even dream of attaining this level of dexterity. Boris Berman…you're my hero!
Don't you dare give up on this. I find that when I break a piece down to small passages played very slowly and then build up the tempo, it will eventually come together. I read at one time that this is what Rachmaninoff would do. I often will tell students that by the mile it's a trial. By the yard it's hard, but by the inch it's a cinch.
@@vivvpprof how cool that you came back to it, bravo, well done... we must not forget that not all of us can be worldclass, but we can do things for our own pleasure and perhaps some friends and it will be good... :-)
Leandro Suzano I’ve been listening to this sonata for almost a year and always thought it was a bit boring when compared to the exhilarating 3 other movements. Now I finally understand how tragic the andante is. It sounds like being with someone as they are dying a slow painful death. So dark.
Absolutely superb. He might not scale the heights of a Richter or a Gilels, as he'd be the first to admit, but his attention to detail and clarity of voicing are incredible. Serious, self-effacing pianism at its best
Forget Richter. He plays in another league, no-one could and can reach his transparency in sound and his truthfulness in musicality. Of the rest, Berman's Prokofjev is one of the best and clearest interpretations
Prokofiev is often too great & marvelous a wonderful and awesome genius to follow, at least not easily, but his verve, vim & vigor, the 3 Vs!, are always electrifying and ever make you want to return for more! His Toccata, op. 11 is one such fabulous example of countless, and especially Guillou's transcription arrangement of it for organ, especially Vincent Dubois's wonderful rendition, I'll always regret Prokofiev wrote so little if any for the organ.
Great example of the young composer. Some themes are a little out of register (the muddy C3-C4 range) and there're a lot of extended sequences, but the brilliant harmonies and phrasing are pure Prokofiev and sound like no one else.
It was the sense of fun in the finale that really got me! Yes, the Andante -very slow - is very gloomy. Berman's metre was great. The modern pianists can learn something of great importance from this master. Speed is neither everything nor the aim.
Когда то играла финал на гос экзамене, посмотрела спустя сорок лет на текст, ужас. Как только справлялась, а ведь играла с легкостью, в любое время дня и ночи.
Btw he gives a fascinating master class on this sonata to a student who plays it rather poorly at first but gradually gets a bit less bad. It's on YT but you must know Hebrew to follow it
I have a recording of the first five sonatas done by a different artist. I hit upon Boris Berman's versions one day while idly trawling through TH-cam. It's interesting to hear a different artist's take on the same material. I have to say I prefer Mr Berman's interpretations in nearly every way. I listened to Sonata No.1 first, and was immediately taken with how clean the left hand playing is. I was always irked by the heavy-handedness of the bass part in the recording I heard first. It's a muddle. Mr Berman's playing is strong without ever descending into murk. Who'd want to be a concert pianist? The artist on my CD is by no means a nincompoop. His playing just doesn't have the verve I hear on these recordings.
Lenin, Stalin & their fellow deranged fascist filth didn't deserve greats like Prokofiev & his fellow luminaries, or the greatness of the Russian/Soviet peoples they wickedly made to so cruelly suffer, the dirt of whose feet their vile, lying lips weren't worthy to touch. Prokofiev is an epitome of how the darker the night (in which he lived), the brighter the light, which he surely was, as with so many of his dear colleagues across the spectrum of arts & sciences, et al disciplines. God remembered them even when they forgot Him so now they ironically more often are faithful in their true worship of Him that in the West where their lack of suffering for His sake has sadly all too much and often make us despise Him on Whom the Founders knew everything depended as their sole sure Foundation. Soli Deo Gloria!
Luc a Vallino What is this supposed to show other than that Marx & Engels were deranged, corrupt & asinine, immoral, hypocritical bigots arrogantly pretending to be knowledgeable (like modern academia & pseudo-science (e.g. climate change fools like algore with a carbon footprint the size of TX & who thinks he invented the internet) & other Dems & Rinos) who should have been executed for their vile, sadistic depravity (e.g. Kinsey, www.DrJudithReisman.org), which I already knew. I see no place this is relevant to or addresses my comments.
ovrava I might not go quite that far but in either case the horrors are too great fully to consider without going mad. Some might mistakenly consider the Russian/Soviet peoples "weak" to be so powerless in their enslavement by their vile leaders but that they have survived at all is a marvelous miracle testifying to Jesus's truth and reality of John 16:33: "These things I have spoken unto you, that in Me ye might have peace. In the world ye shall have tribulation: but be of good cheer; I have overcome the world." Ironically some "great & powerful" Soviet soldiers who tortured peaceful Christians while they themselves had no peace then came to abandon everything, even their perks & "power" as worthless to have Christ and His peace & true power that the world cannot take away or even truly successfully oppose. Who'd trade sixty some years of cruel torture followed by eternal joy with your Bridegroom in heaven for sixty some years of perks and "power" followed by eternal agony in hell without Him Soli Deo gloria!
ovrava Jeez, Ovra, this Stalin character was a TOTAL BEAST, if ever there was one; the true incarnation of the Son of Satan Him (or (Her)self. An honorable man? Don't make me laugh. He's just one of a full string of Psychopaths who managed to grab power pretty soon after a totally chaotic political state of affairs. (Hitler after WW1, Stalin, after the kickdown of Czar Lenin).
Are there any gods speaking to you man? You are producing a mixture of political- or social- criticism, with fantasies, and the fear or love of things unseen.. Oh we might All well, just burn in 7000 hells. I cant stand hearing anymore of this nonsense.. Music is what it is. One of the best things ever happened in this planet and all the galaxies.. Let us be . No slaves To any god. Love Always. Goodnight!
I studied with him and I confess: his teaching is GENIUS. Extremely humble man, treated me as if I was his son. Helped me not just in music but in life as I was struggling with so many things at the same time. Never stopped pushing me. Amazing man, amazing person, may God give him a very long life ❤️❤️
Prokofiev or Boris Berman?
@@simpyoungyuk3885 lol BERMAN of course 😁
@@KaisarAnvar maybe
Sitting in on one of your lessons with him is still a fond memory :)
@@AjStillabower Aj!!!!!❤️
*MVT I*
EXPOSITION
0:01 Theme 1a, rising sequential thirds quickly joined by a second voice. Stepwise motion abruptly leads into...
0:07 Theme 1b, consisting of two main motifs: the insistent, dissonant repeated notes and the strangely _Dies irae_-esque theme in the middle voice.
0:20 t1a again, though the falling chromatic line appears _above_ the rising thirds, an example of invertible counterpoint. This time, it's capped off by a more decisive half-cadence, followed by a sudden _lunga_ G minor triad.
0:33 Transition. The most important aspect of this theme is the RH figure you hear at the beginning of this section. Descends sequentially, briefly touching on the tonalities of G minor, F minor, E-flat minor, and D-flat minor. A repeated falling half-step starting at 0:44 contributes further to the chromaticism; eventually, the music settles onto the common tone E (and the repeated E-D# actually anticipates T2!) as the inner voices continue to move chromatically, bringing us to...
0:56 Theme 2. It's in E minor... I think? A "sickly sweet", ethereal theme marked by dissonant harmonies.
1:34 Codetta. Falling chromatic notes in the LH reminiscent of t1a, followed by tr in diminution. This is repeated once, then tr is played in parallel 11ths twice, bringing the exposition to a close in E minor.
DEVELOPMENT
1:59 A reharmonized version of t2.
2:17 tr alternates with the end of t1a.
2:33 The beginning of a long crescendo that takes up most of the development. First, invertible counterpoint on tr.
2:47 t1b and t2(!!!) enter simultaneously on top of tr. Repeated notes from t1 introduced at 3:01.
3:27 Climax in C-sharp minor, calling back to the end of the second statement of t1a.
3:37 tr in augmentation, superimposed on a chromatically rising version of itself.
RECAPITULATION
3:47 t1a in LH (t1b entirely omitted) - this is gonna end with that G minor triad, right...? Nope; C minor is briefly tonicized, preceding another abrupt shift in tonality.
4:05 tr beginning in A minor, and ending with what appears to be some arpeggios implying the D Phrygian mode...
4:27 t2. The melody says D minor, but the first measure in the bass is a C major triad... D minor tonality becomes more obvious towards the end of the theme.
5:04 Codetta again.
CODA
5:30 Two more statements of t1a, introducing diminished 7ths into the mix. We _finally_ get to hear this theme end on a perfect cadence!
*MVT II*
5:54 A section. Emphasis on upbeats and the downbeats immediately following, with chromatic accompaniment.
6:27 B section. Built entirely on that insistent rhythmic figure of two eighth notes and a quarter note (often across barlines). Moves through D major, D-flat major, A major, then starts back towards A minor.
7:12 A section. Begins in a lower register than before, but is more or less the same as before besides that.
*MVT III*
7:52 Introduction. Immediately sets the mood for this dark, bleak movement.
8:02 A section. A second accompanying voice enters, and the theme enters on top of them about two measures later. As is usual in this sonata, the G-sharp minor tonality is rather unstable and quickly changes. Second statement of the theme is significantly more dissonant, ending with parallel tritones in the bass.
10:05 B section. More active, dense, chromatic counterpoint in 7/8 time.
10:49 A' section. The tenor voice has completely dropped out; now, we hear bass octaves and the same alto accompaniment as before, but rewritten as repeated sixteenth-notes. Once the theme reenters, however, a much more chromatic tenor reappears, even featuring 2-against-3 polyrhythms towards the end.
12:57 B section again, drawing the movement to a close.
*MVT IV*
INTRODUCTION
14:00 Those rising fourths and fifths become an essential part of this movement's t1 (and could be a reference to the A section of the second movement). An arpeggio comes all the way down the keyboard at 14:05, followed by a dominant trill in the lower register.
EXPOSITION
14:08 Four measures of the same vamp from the introduction herald the entrance of IV.t1, contrasting open fourths with stepwise motion.
14:31 IV.tr. A toccata-like texture is established by the abundance of rapid chords. Sudden shift to 2/4 time and an implied C-major tonality at 14:42.
14:47 IV.t2. A light, humorous theme that is then repeated at 15:03.
15:14 Codetta. IV.tr on top of the bass line introduced at the end of IV.tr; the RH eventually takes up lots of jumping chords (with a 2-against-3 polyrhythm) before a homogeneous rhythm is reestablished at 15:24.
DEVELOPMENT
15:38 t2 from the first movement - what's _that_ doing here? Note that it's presented in the form that it appeared when it began the first movement's development.
16:02 This theme is suddenly presented in a much more humorous light (shifting to 2/4 time as well).
16:16 IV.t1 is now presented in 2/4, alternating with a fragment of IV.t2
16:37 IV.t2, with the sixteenth-note gesture from IV.t1 in the background.
16:44 The two rhythmic figures from IV.tr superimposed.
16:48 Further development of the introductory theme, which eventually does lead us right back to the introduction.
RECAPITULATION
17:07 Same texture as at the beginning of the exposition, as expected.
17:08 IV.t1
17:19 IV.tr
17:35 IV.t2; the second time around, IV.t1 is layered on top of it all
CODA
18:02 A drastically altered codetta, quickly overtaken by IV.int and IV.t1.
18:18 Opening arpeggio referenced again, followed by a series of chords that slam the sonata shut.
Good work.
Superb analysis! Thanks a lot!
maaaan, you saved me 🥴✋
@@kurkabloto5872 lol how so?
needed to do that to my music school 💀💀
I love the random accented C#s at 16:25. They sound so out of place, but when it finally resolves to D at 17:05 it all makes sense
I love Prokofiev mainly for this kind of things. 😆 Such a genius sarcasm.
xd epic
[00:00] I. Allegro, ma non troppo
[05:54] II. Scherzo. Allegro marcato
[07:52] III. Andante
[14:00] IV. Vivace
I have never heard such beautiful voicing, he makes every layer of the music audible and clear and comprehensible… I'm awe-struck
I know right
(Pretend I didn't answer 11 years later)
the second movement is SO GOOD it can step on me.
lmaooo a mood
OMG yes purr mama sis Prokofiev hunty slay queen😍😍😍
@@aidanhiggs9922 Congrats on one of my least favourite comments on youtube lol
YESSSSS
@@klop4228 oh the importance of your comment preference , Yass quween teach us
Allegro: 0:00
Scherzo: 5:53
Andante: 7:50
Vivace: 13:58
I finally got how amazing especially the 4th movement actually is.
The joke with this cis))
That's a nice recording. The voicing is just unbelievable.
17:51 How this part can be very clean and both of melody lines are so separated???? I must say that this performance is an ideal one of this piece...
I know right?! I was absolutely blown away by that moment
The Andante is incredible. One really feels as though they're sinking into its mysterious beauty.
prokofiev was an unbelievable virtuoso. absolute mad man
That melody from the first movement. So wonderful!
It sounds so cool, I can't get over it.
I love Berman's recordings of Prokofiev's piano music on Chandos. Boris Berman is overall my favorite interpreter of Prokofiev's piano music.
I'm sorry, having heard the whole recording, I must make an amendment. Not voicing, no. I have never heard such beautiful... everything O_O I mean he plays so well in tempo even in the most difficult moments, the dynamics is just stunningly precise, the sound is never harsh, even in fortissimo, … uh, I guess I'm gonna go dig the garden or something, there's no point in practicing anymore, because I shouldn't even dream of attaining this level of dexterity. Boris Berman…you're my hero!
Don't you dare give up on this. I find that when I break a piece down to small passages played very slowly and then build up the tempo, it will eventually come together. I read at one time that this is what Rachmaninoff would do. I often will tell students that by the mile it's a trial. By the yard it's hard, but by the inch it's a cinch.
L
@@paulheffron4836 7 years on and I'll be coming back to this Sonata, gotta play it in April on a competition finally! :)
@@vivvpprof Way to go! We're rooting for your success! Please do tell us how it goes.
@@vivvpprof how cool that you came back to it, bravo, well done...
we must not forget that not all of us can be worldclass, but we can do things for our own pleasure and perhaps some friends and it will be good... :-)
The best piano sonata ever composed. That Vivace is mind boggling.
This andante is one of the most deep and sad near the madness
Leandro Suzano I’ve been listening to this sonata for almost a year and always thought it was a bit boring when compared to the exhilarating 3 other movements. Now I finally understand how tragic the andante is. It sounds like being with someone as they are dying a slow painful death. So dark.
+TacTundra I was about to leave here a comment almost identical to yours :)
Amit Ben hur under the madness it’s dark.
Indeed! It is the one movement from the sonata I put on repeat until it's looped about dozen times until I finally move on.
Dark meditation
Absolutely superb. He might not scale the heights of a Richter or a Gilels, as he'd be the first to admit, but his attention to detail and clarity of voicing are incredible. Serious, self-effacing pianism at its best
Why does everything have to be compared?
In my opinion, this performance is superior to the one of both Richter and Gilels.
@@riccardofortino134 Why always name Richter and Gilels in one breath? Gilels' technique is one class under Richter's
Forget Richter. He plays in another league, no-one could and can reach his transparency in sound and his truthfulness in musicality. Of the rest, Berman's Prokofjev is one of the best and clearest interpretations
Magique... une très belle version. Merci ❤
Prokofiev is often too great & marvelous a wonderful and awesome genius to follow, at least not easily, but his verve, vim & vigor, the 3 Vs!, are always electrifying and ever make you want to return for more! His Toccata, op. 11 is one such fabulous example of countless, and especially Guillou's transcription arrangement of it for organ, especially Vincent Dubois's wonderful rendition, I'll always regret Prokofiev wrote so little if any for the organ.
Movements:
00:00 Allegro ma non troppo
05:52 Scherzo. Allegro marcato
07:49 Andante
13:57 Vivace
18:07 - 18:11 amazing voicing
17:52 the voicing is amazing in this part
The ending of the first movement at 5:29, that's some way to finish a piece ;D
I’m like YES! A minor! This is gonna be easy. And then I realize how hard the second movement is.
bro you saying minors are easy? easy to what? EASY TO FUCK HUH
Prokofiev's pieces are so captivating.
What always gets me is the mesmerixing mix of the stern and the incongruous/humorous. You can expect to be amused, baffled, terrified and roused.
THIS IS NO DOUBT THE BEST!!!
+Daniel Che same
my favourite prokofiev atm
Great example of the young composer. Some themes are a little out of register (the muddy C3-C4 range) and there're a lot of extended sequences, but the brilliant harmonies and phrasing are pure Prokofiev and sound like no one else.
finally a good performance of this sonata on youtube
Sviatoslav Richter? Oh, I see you want a good performance not a great one.
It was the sense of fun in the finale that really got me! Yes, the Andante -very slow - is very gloomy. Berman's metre was great. The modern pianists can learn something of great importance from this master. Speed is neither everything nor the aim.
Wonderful performance, I enjoyed every minute and can't wait to start practicing myself!
That third movement is heartbreaking
12:57 best part of the Song 10:05
Piece.
@@Balja69 oh I’m sorry. Not
This is a great sonata, and a great recording.
Wow, he's matching Richter in this whole sonata. Very impressive
Когда то играла финал на гос экзамене, посмотрела спустя сорок лет на текст, ужас. Как только справлялась, а ведь играла с легкостью, в любое время дня и ночи.
Good on ya matey 🎉🎉🎉
The recapitulation is absolutely brilliant. Leaves me dumbfounded every time.
Btw he gives a fascinating master class on this sonata to a student who plays it rather poorly at first but gradually gets a bit less bad. It's on YT but you must know Hebrew to follow it
I was like 'great!!! .......oh' lol I don't know Hebrew
link please? couldn't find it
can you give us a link? :)
I did but it got flagged for spam cause YT doesn't like it when you post links apparently. The title is "Boris Berman in Master Class - Dan Goldsher"
I love so much to listen or to play the 3rd Mvt Andate, it's so hypnotic ❤
When i read Pablo Nerudas poem Tengo miedo, i hear the Andante from this Sonata
I have a recording of the first five sonatas done by a different artist. I hit upon Boris Berman's versions one day while idly trawling through TH-cam. It's interesting to hear a different artist's take on the same material. I have to say I prefer Mr Berman's interpretations in nearly every way. I listened to Sonata No.1 first, and was immediately taken with how clean the left hand playing is. I was always irked by the heavy-handedness of the bass part in the recording I heard first. It's a muddle. Mr Berman's playing is strong without ever descending into murk.
Who'd want to be a concert pianist? The artist on my CD is by no means a nincompoop. His playing just doesn't have the verve I hear on these recordings.
I love the final movement
This is Amazing!
the mellowdramatic part is tearin me apart good lord
Однозначно одно из лучших исполнений!
can't be better!
this is far better than richters in my opinion
4th part of this sonata reminds me the final part of Saint-Saens's 2nd concerto smh
The scherzo part is so swag
+Cody Fong I'll say, from 14:42 is swag as hell!
That Andante
i love 5:54
17:08 😍
At 14:40 a little bit Peter and the wolf.
Follow the dynamics Josh! :)
The scherzo is so exciting.
Beatiful music!
Congratulations!
Magnifique version de Boris Berman !! Bravo Maestro !!
10:51
1:03 - fuc...g shit, in the middle of the most beautiful moment(((
Eugen Indjic - Piano Sonata No. 2 (Prokofiev)
9:42
sublime
4 часть. 13:59
Im really enjoying orchestrating this at the moment
The vivace certainly has a Khachaturian Sabre Dance feel to it!
The 3rd movement is a real nightmare.
Try the sixth one.
Vinnitskaya played it well in concert.
У меня друг сейчас эту сонату разбирает;_)
1:10
14:00
Damn this bitch is hard!
Every time i hear the scherzo i picture two cartoon characters hitting each other with a big hammer.
surely you watched too much tom & jerry :D
혹시이거 프로코예프 2번 4악장 있나요??
I'm in my 4th year of piano, and I will attempt the 1st movement of the sonata..., wish me luck ahaha.
That didn't go well
Aww man I’m sorry to hear that
don't do it and change your teacher. You will get traumatic for your whole pianistic life
Update: I didn't learn it yet lol
@@alejandrom.4680 lol
Part sounds like Harry Potter theme in movies 😂😂😂😂😂
Cannot stop listening this beautiful sonata
Preciosa! ♠
Jefferson
Lenin, Stalin & their fellow deranged fascist filth didn't deserve greats like Prokofiev & his fellow luminaries, or the greatness of the Russian/Soviet peoples they wickedly made to so cruelly suffer, the dirt of whose feet their vile, lying lips weren't worthy to touch. Prokofiev is an epitome of how the darker the night (in which he lived), the brighter the light, which he surely was, as with so many of his dear colleagues across the spectrum of arts & sciences, et al disciplines. God remembered them even when they forgot Him so now they ironically more often are faithful in their true worship of Him that in the West where their lack of suffering for His sake has sadly all too much and often make us despise Him on Whom the Founders knew everything depended as their sole sure Foundation. Soli Deo Gloria!
Luc a Vallino
What is this supposed to show other than that Marx & Engels were deranged, corrupt & asinine, immoral, hypocritical bigots arrogantly pretending to be knowledgeable (like modern academia & pseudo-science (e.g. climate change fools like algore with a carbon footprint the size of TX & who thinks he invented the internet) & other Dems & Rinos) who should have been executed for their vile, sadistic depravity (e.g. Kinsey, www.DrJudithReisman.org), which I already knew. I see no place this is relevant to or addresses my comments.
Russ Davis constrasted with todays politicans stalin was an honorable man.
ovrava
I might not go quite that far but in either case the horrors are too great fully to consider without going mad. Some might mistakenly consider the Russian/Soviet peoples "weak" to be so powerless in their enslavement by their vile leaders but that they have survived at all is a marvelous miracle testifying to Jesus's truth and reality of John 16:33: "These things I have spoken unto you, that in Me ye might have peace. In the world ye shall have tribulation: but be of good cheer; I have overcome the world." Ironically some "great & powerful" Soviet soldiers who tortured peaceful Christians while they themselves had no peace then came to abandon everything, even their perks & "power" as worthless to have Christ and His peace & true power that the world cannot take away or even truly successfully oppose. Who'd trade sixty some years of cruel torture followed by eternal joy with your Bridegroom in heaven for sixty some years of perks and "power" followed by eternal agony in hell without Him
Soli Deo gloria!
ovrava
Jeez, Ovra, this Stalin character was a TOTAL BEAST, if ever there was one; the true incarnation of the Son of Satan Him (or (Her)self. An honorable man? Don't make me laugh. He's just one of a full string of Psychopaths who managed to grab power pretty soon after a totally chaotic political state of affairs. (Hitler after WW1, Stalin, after the kickdown of Czar Lenin).
Are there any gods speaking to you man?
You are producing a mixture of political- or social- criticism, with fantasies, and the fear or love of things unseen.. Oh we might All well, just burn in 7000 hells. I cant stand hearing anymore of this nonsense.. Music is what it is. One of the best things ever happened in this planet and all the galaxies.. Let us be . No slaves To any god. Love Always. Goodnight!
2020: 1417
пп 00:57
dutilleux sonata nows makes a little more sense
why that?
I juste began 3 days ago
노래 존좋 ㅠㅠㅠㅠ
Prokofiev's music is so ugly and I love it
Ništa nije ružno u ovoj sonati i njegovoj muzici, baš naprotiv. Inače, imaginacija Prokofjeva je fantastična. Kreativna sila.
I Luke,😊
Skdixuuciffudu
69th dislike silly funny
Steps to compose a Sonata a la Prokofiev style:
1. Take a cat
2. Put it over a keyboard
3. Write
OMG HOW FUNNY HAHAHAHAHAHAHA OMG IM CRYING
too many dissonants
bradonpatrickcain Welcome to Prokofiev my friend, where key signature are merely a suggestion.
Then I don’t recommend listening to Schönberg ..
How is this too dissonant? This is one of his early works...Other 20th century music are way more dissonant than this
Well welcome to 20th century music
@@ericshan6041 i agree, No. 2 is comparably "easy listening" and maybe a good start to explore prokofiev
What a waste of time trying to learn this boring stuff.
Briman Aerospace what a waste of time writing this useless comment to stop music lovers
Briman Aerospace If I may ask, why do you consider this boring? I’m just interested.
Opinions are like assholes, yours is full of shit
What a waste of time writing that comment.
no one forces you ;-) and i guess you wouldnt achieve (considering your level of motivation)
Movements:
00:00 Allegro ma non troppo
05:52 Scherzo. Allegro marcato
07:49 Andante
13:57 Vivace
Thanks
Thanks
Thanks
6 years later
xinyan lyu 😂
Grazie brother
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